Entertainment
Bill Bourne… Madagascar Slim… on their way to Red Deer for September 27th performance
Madagascar Slim reflects on the joys of belonging to Tri-Continental
By Mark Weber
Anyone who has ever taken in the sonic magic of Tri-Continental can’t help but notice the rare and accomplished musicians that make up this Internationally acclaimed group.
Known the world over for their compelling, intricately crafted tunes, Tri- Continental will be performing in Red Deer Sept. 27th in a concert presented by the Central Music Festival Society.
Local fans can check out what Madagascar Slim, Bill Bourne, Lester Quitzau and Michael Treadway have been up to of late as they feature tunes from last y ear’s disc Dust Dance plus cuts from their extensive repertoire, said Slim, a folk and blues guitarist who hails from Madagascar but settled in Ontario back in 1979.
First, a quick look at their roots. Slim recalls first hearing Bourne at a Toronto club some 20 years ago and being struck by his talent. “There was Bill in his top hat,” he recalled with a laugh. “I said, can I play this other guitar? He said, ‘Pick it up, man!’ “So I started playing with him, and he looked at me and said, ‘You want to come up with me onstage?’ Bourne later told him about Quitzau, and a new band was born. The possibilities from this collaboration would prove endless.
In the meantime, the gigs started coming fast and furious and it wasn’t long before they laid down tracks for their first disc. Typically, the men each bring their own works to the group and perform them as a singular creative force, continually finding fresh ways to interpret each other’s style. It’s always proven a hit with audiences and critics alike. As Slim noted, when Tri-Continental plays his music, it sizzles with a completely different vibe then it may have in another setting with other players. And that goes for each of the guys, he explains. “We add our personalities to the mixes.” That said, they have worked on music together, too. “We have embryos of ideas and we bounce them back and forth,” he notes. But essentially, the raw creativity is just simply sparked by being together. And really, the guys never completely know, in a sense, where things will go as a show unfolds. “We come up with a lot of the ideas right when we are playing,” he explains. “That’s what makes the magic.” Indeed.

Besides being a member of Tri-Continental and the world music group African Guitar Summit, Slim has also worked as a solo artist and a regular collaborator with blues singer Ndidi Onukwulu. All the guys have, for the past few years, been following their own artistic paths. But then Slim recalled landing an email from Quitzau about reconnecting. And the time seemed right.
It’s also been an exciting new ‘chapter’ for Tri-Continental with the addition of drummer Michael Treadway as well. “Michael has added a new dimension to the whole thing,” observes Slim, pointing out that with much of hi s own music based so solidly on rhythmic foundations, adding such a strong percussive element is nothing short of exhilarating.
“As soon as Michael started playing I thought, oh my goodness. This is it! I really felt totally comfortable. And he just jumped into it and made it his home, too,” he added. “I’m really appreciative of the fact that he’s playing with us. He’s a joy to be on tour with – very bubbly, very enthusiastic.”
Slim moved to Canada in 1979 to study English and accounting at Seneca College, pursuing music with the folk group La Ridaine while studying. As time passed, his ‘calling’ to music became more obvious. It’s been a memorable ride to be sure, with his talents seemingly boundless. And to this day, he loves nothing better than hitting the stage with the men of Tri- Continental. They don’t live near each other, but that’s also what also makes those reunions that much sweeter. One can sense the sheer joy in Slim’s voice when he chats about not only the creative experiences the members are sure to share in the months ahead, but also the re-connecting with fans old and new. “When you don’t see each other for awhile, it seems like it brings us closer,” he says with gratitude. “I’m really happy when I see those guys!”
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For more information or to purchase tickets, check out www.centralmusicfest.com.
Business
Will Paramount turn the tide of legacy media and entertainment?

From the Daily Caller News Foundation
The recent leadership changes at Paramount Skydance suggest that the company may finally be ready to correct course after years of ideological drift, cultural activism posing as programming, and a pattern of self-inflicted financial and reputational damage.
Nowhere was this problem more visible than at CBS News, which for years operated as one of the most partisan and combative news organizations. Let’s be honest, CBS was the worst of an already left biased industry that stopped at nothing to censor conservatives. The network seemed committed to the idea that its viewers needed to be guided, corrected, or morally shaped by its editorial decisions.
This culminated in the CBS and 60 Minutes segment with Kamala Harris that was so heavily manipulated and so structurally misleading that it triggered widespread backlash and ultimately forced Paramount to settle a $16 million dispute with Donald Trump. That was not merely a legal or contractual problem. It was an institutional failure that demonstrated the degree to which political advocacy had overtaken journalistic integrity.
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For many longtime viewers across the political spectrum, that episode represented a clear breaking point. It became impossible to argue that CBS News was simply leaning left. It was operating with a mission orientation that prioritized shaping narratives rather than reporting truth. As a result, trust collapsed. Many of us who once had long-term professional, commercial, or intellectual ties to Paramount and CBS walked away.
David Ellison’s acquisition of Paramount marks the most consequential change to the studio’s identity in a generation. Ellison is not anchored to the old Hollywood ecosystem where cultural signaling and activist messaging were considered more important than story, audience appeal, or shareholder value.
His professional history in film and strategic business management suggests an approach grounded in commercial performance, audience trust, and brand rebuilding rather than ideological identity. That shift matters because Paramount has spent years creating content and news coverage that seemed designed to provoke or instruct viewers rather than entertain or inform them. It was an approach that drained goodwill, eroded market share, and drove entire segments of the viewing public elsewhere.
The appointment of Bari Weiss as the new chief editor of CBS News is so significant. Weiss has built her reputation on rejecting ideological conformity imposed from either side. She has consistently spoken out against antisemitism and the moral disorientation that emerges when institutions prioritize political messaging over honesty.
Her brand centers on the belief that journalism should clarify rather than obscure. During President Trump’s recent 60 Minutes interview, he praised Weiss as a “great person” and credited her with helping restore integrity and editorial seriousness inside CBS. That moment signaled something important. Paramount is no longer simply rearranging executives. It is rethinking identity.
The appointment of Makan Delrahim as Chief Legal Officer was an early indicator. Delrahim’s background at the Department of Justice, where he led antitrust enforcement, signals seriousness about governance, compliance, and restoring institutional discipline.
But the deeper and more meaningful shift is occurring at the ownership and editorial levels, where the most politically charged parts of Paramount’s portfolio may finally be shedding the habits that alienated millions of viewers.The transformation will not be immediate. Institutions develop habits, internal cultures, and incentive structures that resist correction. There will be internal opposition, particularly from staff and producers who benefited from the ideological culture that defined CBS News in recent years.
There will be critics in Hollywood who see any shift toward balance as a threat to their influence. And there will be outside voices who will insist that any move away from their preferred political posture is regression.
But genuine reform never begins with instant consensus. It begins with leadership willing to be clear about the mission.
Paramount has the opportunity to reclaim what once made it extraordinary. Not as a symbol. Not as a message distribution vehicle. But as a studio that understands that good storytelling and credible reporting are not partisan aims. They are universal aims. Entertainment succeeds when it connects with audiences rather than instructing them. Journalism succeeds when it pursues truth rather than victory.
In an era when audiences have more viewing choices than at any time in history, trust is an economic asset. Viewers are sophisticated. They recognize when they are being lectured rather than engaged. They know when editorial goals are political rather than informational. And they are willing to reward any institution that treats them with respect.
There is now reason to believe Paramount understands this. The leadership is changing. The tone is changing. The incentives are being reassessed.
It is not the final outcome. But it is a real beginning. As the great Winston Churchill once said; “Now this is not the end. It is not even the beginning of the end. But it is, perhaps, the end of the beginning”.
For the first time in a long time, the door to cultural realignment in legacy media is open. And Paramount is standing at the threshold and has the capability to become a market leader once again. If Paramount acts, the industry will follow.
Bill Flaig and Tom Carter are the Co-Founders of The American Conservatives Values ETF, Ticker Symbol ACVF traded on the New York Stock Exchange. Ticker Symbol ACVF
Learn more at www.InvestConservative.com
Censorship Industrial Complex
The FCC Should Let Jimmy Kimmel Be
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